Academic literature on the topic 'Tomb of the Bulls (Tarquinia, Italy)'

In the autumn of 2013, a discovery was made in the Doganaccia necropolis close to the ancient Etruscan city of Tarquinia. A sepulchre was uncovered, mercifully and unusually unlooted. Inside were the remains of two individuals and a range of grave goods, allowing the tomb to be typologically dated to the late seventh or early sixth century BC. One of the individuals had been cremated, while the other was laid out in a supine position. Both were placed on funeral benches similar to those known from Etruscan tombs across the region (Steingräber 2009). This excavation was as unusual as it was spectacular—the equally vigorous efforts of nineteenth-century enthusiasts (Leighton 2004: 12) and twentieth-century tomb robbers (van Velzen 1999: 180) have left little of the Etruscan burial record undisturbed. Unsurprisingly, there was a great deal of media excitement over the burial, as its excavator, distinguished Etruscan scholar Alessandro Mandolesi, spoke with the press of his impressions of the remains and their relationship to the artefacts found in the tomb. Little of his exact words remain in the public sphere, but the impression he provided to the press was clear in the flurry of media reports that followed his statement. The ensuing media interest and archaeological developments present a number of serious issues for the practice of archaeology in an age in which digital media can magnify the impact of any major discovery. In addition, the interpretation put forward exposed the continued androcentrism inherent in many sub-disciplines of archaeology, which, 30 years on from Conkey and Spector's (1984) transformative publication, remain locked in deeply problematic interpretative patterns. This interpretation of the Tarquinia burial is emblematic of a far wider phenomenon, both within and beyond Italy, which has serious implications for future archaeological practice. This article unpicks both the media storm and interpretative paradigms that characterised this case study, and queries archaeological responsibility and visibility in an age of 24-hour news.

<p>The paper concerns the 3D reconstruction and virtual restoration of a painted rock-cut chamber tombs located in the interior of Southern Etruria (Viterbo Province, Central Italy). The tomb was discovered in 1901 in a place named Pranzovico and it dates from the mid-fifth century BC; it has a cross plan with central atrium (decorated with paintings) and three chambers in which there are the rock-cut funerary beds. The paintings have been largely destroyed by illegal excavators in the days immediately following the discovery; during the 20th century it was damaged due to agricultural works in the surroundings and now it is partially filled up. Its 3D reconstruction is based on the scarce remains preserved, the plan and drawings of paintings made at the time of discovery and the comparison with other tombs from Tarquinia and Chiusi.</p>

Karen Kain, recipient of the Companion of the Order of Canada and artistic director of the National Ballet of Canada, wrote an autobiography entitled Movement Never Lies referring to a truism about professional dance. The UNESCO heritage site of Tarquinia (Italy) featuring Etruscan tomb dance imagery has never been studied through Classical scholarship from the perspective of a professional dancer nor from the perspective of analysis of depiction of movement. The author of this presentation, a former dancer with the National Ballet of Canada (1986-1992) who is a Classics Major, has endeavoured to prove that examination of movement depiction can be used as evidence to provide insight into Etruscan culture. Methodology for the study is based on the premise that Etruscan dance representations of humans Ca. 2500 years ago and the techniques of the dancer of today reflect actions by the same species; therefore, a comparative is possible for the essence of the movement communicated. Results of the study indicate that representation of the Etruscan dance language is realistic and stable, is organically derived, is immensely practical, and has unique features within the Mediterranean cultural milieu. This preliminary study highlights the possibility of using ancient Classical cultures as models and terms of comparison for better understanding aspects of modern societies. It is salient that in contemporary culture, woman and children are dying to dance (from eating disorders), while Etruscans seemed to be dancing to live or to become ambassadors for an afterlife indicated by the Etruscan models.